Difference between revisions of "Vibrato"
From CCRMA Wiki
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:* frequency-dependent hysteresis behavior | :* frequency-dependent hysteresis behavior | ||
:* test: preference for sounds with modulated spectral envelope | :* test: preference for sounds with modulated spectral envelope | ||
| − | :* | + | :* offers great literature review & background info on vibrato pitch, rate, extent, shape, and temporal evolution |
:* vibrato is made of at least one of these three kind of modulations: | :* vibrato is made of at least one of these three kind of modulations: | ||
:# amplitude modulation (predominant in wind and brass instr) | :# amplitude modulation (predominant in wind and brass instr) | ||
:# frequency modulation (predominant in voice and string instr) | :# frequency modulation (predominant in voice and string instr) | ||
:# spectral envelope modulation and hysteresis (existing in wind, brass, voice) | :# spectral envelope modulation and hysteresis (existing in wind, brass, voice) | ||
| + | :* Questions & thoughts: | ||
| + | :: * How much of the analysis is instrument-specific, and how much is it performer/ context/ style-specific? | ||
| + | :: * It'd be interesting to see a more music-passage specific (higher level) analysis as opposed to instrument-specific modelling | ||
Revision as of 16:12, 20 July 2009
literature review
- Perceptual Evaluation of Vibrato Models
- Vincent Verfaille, Catherine Guastavino, Philippe Depalle
- Proceedings of the Conference on Interdisciplinary Musicology (CIM05)
- spectral envelope modulation
- frequency-dependent hysteresis behavior
- test: preference for sounds with modulated spectral envelope
- offers great literature review & background info on vibrato pitch, rate, extent, shape, and temporal evolution
- vibrato is made of at least one of these three kind of modulations:
- amplitude modulation (predominant in wind and brass instr)
- frequency modulation (predominant in voice and string instr)
- spectral envelope modulation and hysteresis (existing in wind, brass, voice)
- Questions & thoughts:
- * How much of the analysis is instrument-specific, and how much is it performer/ context/ style-specific?
- * It'd be interesting to see a more music-passage specific (higher level) analysis as opposed to instrument-specific modelling
